#iirc he seemed to only be missing the last few moments of his existence so honestly there wasn't a lot that was lost

[mewkwota]

Re:Initialization

So while I had joked lightly that in NxC both Volnutt and Juno are experiencing amnesia, I think I figured out how the latter ended up with it. It's implied that the Legends characters are from some point after the end of the first game, and that Meio brought back Juno somehow. Even if we were to assume some traces of Juno's data made it to Eden, his body was still destroyed. So it's possible this lead to some complications in putting him back together.

Does that sound familiar?

This all started because I wanted to do better in drawing Juno's sleeping face and it kinda spiraled from there. I won't apologize.

[dontcallmecarrie]

Replying to the commenters of this post [heads up for angst]:

To @kine-iende, who said:​

hot damn. if "our" justin was a mom-friend in their home-universe, here people would start questioning if justin was in secret a very motherly scrull or something (and be fine with it ^^). but yeah, love the trope too. was it "for the want of a nail" or "through a mirrorm darkly"? well, contrast and a what could have been would be lovely. feel enabled, whenever you want to write this :)

.

I am not very familiar with the concept of Skrulls [...iirc, that’s something introduced in Captain Marvel, which I have yet to get around to], but yeah, that tracks. Assuming it’s a thing they know to look for, though, because here Justin’s being themself is the biggest and most obvious way to establish that they are not canon!Justin.

Sure, they’re identical physically, but the moment either Justin opens his mouth, the jig’s up. 

As is, not five minutes into this strange hellscape where their oldest rival looked at them with no small amount of disdain in his eyes at first, Justin had already managed to charm their way out of holding and into a very relaxed “we’ll keep an eye on him” Avengers custody. 

Well, on paper at least— in reality, most of the team doesn’t really give a damn one way or another, whereas Tony starts out morbidly curious as to just how different NHDD!Justin is to the one he’s used to dealing with, and ends up getting a concentrated dose of All The Feels™ because the moment NHDD!Justin realized this Tony had a metric buttload of undiagnosed-and-constantly-belittled mental health issues and a support system that was equal parts duct tape and caffeine, he went “oh, so this universe is the Hell Timeline, okay, makes sense :) :) :) dammit Ivan you’d better fix this stat”. 

In retrospect, Justin’s not sure when exactly the horror show started; if it was the absolute lack of concern or care the Avengers had for their Tony, or the minute they noticed the gauntness in his face. Maybe the tension between Iron Man and Captain America, or the obvious bravado this Tony used– and the fact that none of the others so much as noticed.

All Justin knows is, a version of someone they care about is hurting, hurting badly and has been for a long time now, and that’s more than enough for them to go “oh, okay, mine now”.

.

For his part, Tony has no idea what the hell’s going on. The non-annoying Justin Hammer who crash-landed an Avengers debrief is...something else, and he’s torn between shock, pleasant surprise, and no small amount of existential angst and jealousy because in the span of a few hours, Tony’s had a brief taste of what some other version of him had for a lifetime, and...

Tony’s not sure how he feels about it. He’s a genius, he can wrap his head around string theory and all that good stuff, but numbers are one thing, having to live with the fact that somewhere out there, a version of him grew up with someone so unfailingly kind and supportive and—Tony can’t think of a better word for it than nurturing— and, in the span of seconds, had been able to call him out on his bullshit and seemed to instinctively push him to be better but not in the demanding way his father or the rest of the world had—

If he thinks about it too long, it makes him want to cry, just a little. Somewhere out there was a Tony who’d been enough for someone, who had never been asked to change himself, who’d been pushed up instead of repeatedly torn down and he didn’t know how to deal. 

He’d thought having a non-annoying Justin around would be funny.

This was not, it was goddamn distressing is what it was, because Tony hadn’t even known it was a possibility but now he is acutely aware of the fact that he got stuck with his Justin— the human embodiment of one of those yappy dogs who nipped at people’s heels thinking they were so tough, despite not being able to back it up.

This Justin was, uh, not that. Tony wasn’t sure if he was always like this, or if it was only with him because he shared a face with someone Justin cared about, but... was he always this much of a mom friend? And where’d that granola bar even come from, anyway? Not that he minded, it was a nice change of pace, but really?

...Tony was really going to miss him, once they figured out a way to send him back home.

.

To the commenter who said:

Stephanie isn’t a canon character, is she? Because if not, NHDD!Justin might be able to pull off a “the birth of my little sister awakened my previously deeply buried parental instincts” to explain his whole… [gestures uselessly].

.

Technically, she could be, in that Justin Hammer has a sister and nephew in canon [according to the wiki and a deleted scene, apparently]. I chose to make her a younger sibling in NHDD, to really emphasize the ‘reincarnated with shitty memory’ aspect of this AU. Specifically, while it’s never specified, Justin’s past life was...not great, and part of it was the fact that their younger sibling was sick. 

With what, they don’t remember anymore, but sick enough that they know health isn’t something to take for granted; sick enough that towards the end, they remember their parents had to choose between paying hospital bills and electricity, remember going to bed hungry because meds were expensive and their next paycheck wasn’t until Friday.

...suffice it is to say, there’s a reason Justin’s so protective of those he cares about, even if his memories faded a bit on the specifics as time went by.

To be fair, canon!Justin also cares for his sister and nephew; it’s just that NHDD!Justin acted more like a third parent than a sibling, once Stephanie was born. 

Bear in mind that canon!Justin’s situation is very different than NHDD!Justin’s, because canon!Justin was basically set up to fail from the start as a normal kid who was constantly compared to a child prodigy two years younger than him and terrible parents. While NHDD!Justin’s situation is similar on the surface, the difference is they’re literally a reincarnated OC, with all the baggage that entails.

Maybe, if their second life hadn’t been surrounded by adults with A+ Parenting Skills, 0/10 Do Not Recommend, their issues and traumas from last time wouldn’t have been exacerbated. If they’d been born to a regular family, Justin would’ve been a good kid but nothing special, and their memories of a past life would’ve faded away by the time they hit puberty.

But instead, they were born to the Hammer family, and proceeded to be put through the wringer. 

Which is bad enough, and meant they immediately started leaning hard on everything from their past life because these people wouldn’t know good parenting if it bit them on the nose, but...then Justin’s little sister was born, which immediately kick-started every older sibling instinct they’d ever had because last time they’d been responsible for their younger sibling’s health and safety and you can probably see where this is going. 

aka yes, some of Justin’s behaviors could arguably be called trauma responses and/or coping mechanisms and it’s something I only realized as I was writing this, and no, this AU was not supposed to be this messed up

Justin’s responsibility, their willingness to deal with shitty parents and do tremendous amounts of emotional labor if it helped anyone they took under their wing? That’s no accident, that’s what happens when a soul has to be the adult, has to step up because nobody else is going to. There’s a reason Justin has so much disdain for Hank Pym and Howard Stark’s immaturity, why they have so little patience for their parents as time goes on; their mental age means the older they get, the more they’re looking at the adults around them and judging them hard.

...ahem. Sorry for getting a bit off-topic, but hey, at least now you know a bit more about what’s going on inside Justin’s head!

And yeah, if he had to bs an explanation for why he’s such a mom friend, Justin’d be more than happy to point to his little sister as an excuse. So long as they know she exists, anyway; if not, he’ll just laugh it off and try to chalk it up to one of the differences between their universes.

.

edit to remove the stuff that got through my nonexistent brain-to-mouth filter because I was averaging a not-optimal amount of sleep as I got used to my new job

[felassan]

Dragon Age Library Edition Volume 1 annotations & additional pages/art compilation

Dragon Age Library Edition Volume 1 is a hardcover collection of some pre-existing Dragon Age comics that was released in 2014. It comprises of all issues of The Silent Grove, Those Who Speak and Until We Sleep. In places, it includes additional annotations/commentaries by the illustrators and authors, as well as a few additional pages with additional art. iirc these additional annotations and pages/art aren’t featured or available anywhere else (in the franchise I mean; other people have probably put them online at some point I’m sure).

From what I can see at least, Library Edition Volume 1 is no longer in print, and as such listings for it on resale sites etc are.. price-inflated & prohibitively expensive (~£100+, which I’m sure we can all agree is just not reasonable or accessible to most people). Due to this, I’ve compiled the additional annotations and pages here in this post. Thank you and credit to @artevalentinapaz, who kindly shared the material with me. This post has been made with their permission. The rest of this post is under a cut due to length.

These commentaries are in the context of The Silent Grove, Those Who Speak and Until We Sleep. If you notice any errors or annotations missing, or need anything clarified, just let me know. I think the annotations are in chronological order. In places I elaborated in square brackets to help explain which part of the comics an annotation is referring to. A note before you proceed further: some of the topics referenced in the annotations/additional pages are heavy or uncomfortable. The quotes here are word-for-word transcriptions of dev/creator commentaries, not my personal opinions or phrasings.

(Also, I do recommend always supporting comic creators by purchasing their comics legitimately. I own each issue of these comics having bought other editions of them all legitimately. The reason I put this post together is because this specific Library Edition volume has been discontinued and the consequently-inflated cost is so high, rendering the additional material inaccessible to most.)

-----

The Silent Grove annotations

Illustrator Chad Hardin: “I used to be an environmental artist for video games, so I built a 3-D model of Antiva City using the program Silo. Many of the buildings are simple cubes, but a few are more detailed. Overall, I spent the better part of a day building it, but I used it again and again throughout The Silent Grove to maintain continuity in the backgrounds.”

Script Writer Alexander Freed: “Even working with David Gaider, it took me several drafts to find Alistair’s voice. His narrative had to convey his humor and self-doubt from Dragon Age: Origins while suggesting a newfound weariness earned during his years on the throne. For readers familiar with the character, he needed to seem like a changed Alistair - but Alistair nonetheless.”

Chad Hardin: “If you read a lot of comics, you might wonder why the majority of the heroes wear skin-tight suits. Well, I can tell you: they are easy and quick to draw. In video games, you build the model once and then animate it, so details don’t slow you down. In comics, everything has to be rendered by hand. Varric and Alistair’s outfits were quite detailed. It took me a long time to get used to them, and even longer to memorize the designs until drawing them was second nature - Varric’s knee armor in particular! Oy vey!”

David Gaider: “One of my favorite scenes in the entire series [when Varric and Isabela are disarming traps and picking locks together while Alistair looks on]. Isabela and Varric, doing what rogues do. I had a suggestion for how to put it together, but Alex managed to make it fit and did a great job with it.”

Chad Hardin: “I never used to keep any of the artwork I created for comics. I would just hand the pages over to my agent to sell. This page [when Alistair, Varric and Isabela are in a tavern together, with hookah in the foreground] I kept for myself. I love the hookah-smoking elves in the second panel and Isabela’s face in the last panel. I rendered the first four chapters of The Silent Grove in grayscale using ink washes, gouache and Copie markers.”

David Gaider: “For a little while, Varric [in these comic stories] was supposed to be Zevran from Dragon Age: Origins, which would have made sense, Zevran being Antivan and all. I know that some fans would have loved to see him, but the dynamics of the group just didn’t work as well. Then a planned cameo later had to be cut for space. Ah well, Zev, another time.”

Alexander Freed: “Isabela at her most dangerous [climbing up the side of the cliff]. This scene - featuring a scantily clad, dripping-wet woman who tends to flaunt her sexuality - could easily have come across as exploitative, but Chad did a lovely drop portraying Isabela as purely focused and deadly.”

Chad Hardin: “Isabela rising out of the water and scaling the cliff with the knife in her mouth is one of my favorite parts of The Silent Grove. It is one of those moments where the writing really inspired the art. Hats off to Alex and David. This is another page I kept for myself.”

Colorist Michael Atiyeh: “This is one of my favorite Dragon Age pages. Chad is such an amazing artist; I feel very fortunate to have had the opportunity to work with him.”

Chad Hardin: “I love that this page [when a guard spots Varric and shouts ‘Intruder!’] made it in uncensored. So many times in comics, I draw something and some stuffy lawyers come out of the woodwork and tell me to tone it down. Dark Horse and BioWare always let me have fun, and this turned out to be one of my favorite pages with Varric and Bianca. Any guesses to which word he is mouthing in the second panel?”

Alexander Freed: “Note the simple decency of Alistair as he gives his cloak, without comment, to Isabela. For all his flaws, he’s genuinely kind at heart - a rare enough trait in Isabela’s world that I think it’s much of what she values in him.”

Chad Hardin: “I love the opening panel to this chapter [the opening panels to Chapter 3, when the team are on a ship at sea]. It’s the image I use on the homepage of my website. This page was a gift to my cousin Wendy, who loves pirates. Seascapes with sailing ships might be clichéd in fine art, but for me it was a first.”

David Gaider: “I wanted to have this story center on the group travelling to a Witch of the Wilds other than Flemeth, and originally I had set it somewhere else - until I remembered a Codex entry from Dragon: Age Origins that offhandedly mentioned a witch in the Tellari Swamps. Brilliant! It’d look like I planned it all along. I didn’t.”

Michael Atiyeh: “I love opportunities where I can show a change in the time of day as you move from panel to panel [when the ship heads towards and the team arrive in the Tellari Swamps]. I feel the palette of each panel is very distinct and beautiful.”

Alexander Freed: “Why did Alistair choose two people he barely knows to be his companions on this quest? We never make this explicit, but of course Varric is on the right track. Alistair wants to surround himself with people who don’t know him and won’t judge him, yet it’s Alistair’s idealism that Isabela and Varric work to preserve.”

Chad Hardin: “Another page where the writing inspired the art [when the group suddenly encounter a dragon]. I love the dragon bursting onto the scene and Isabela’s stare. Some writers will try to cram six or seven panels on a page like this and the pacing just doesn’t allow the artist to give each moment the right punch. Can you imagine if the first panel was crammed into a single square inch?”

Chad Hardin: “Yavana was one of the only characters that we did no preliminary sketches for. I don’t know how that happened, but thankfully it worked out.”

David Gaider: “I love how Yavana looks like a cross between Flemeth and Morrigan. Flemmigan? She’s totally Chad’s design, and it’s great. Typical for these witches, she never says things straight. In my mind, this Alistair is the one who did the Dark Ritual in Dragon Age: Origins - and I was half-tempted to have him lose his cool in this first scene [opening panels of Chapter 4] with her. Too early, though.”

Alexander Freed: “Through this whole sequence [the page when Varric aims Bianca at Yavana], Yavana is dropping cryptic hints and Alistair is refusing to play along. He’s met Flemeth and Morrigan - he knows Yavana won’t give him a straight answer, and he won’t give her the satisfaction of asking needlessly.”

Michael Atiyeh: “Sometimes it’s the little things on a page that spark my interest. Here [when the team navigate vines and mud to get to the temple], the sunset panel came out great and the mud looks really thick and gooey. It’s fun to focus on these details and make them stand out.”

Chad Hardin: “I hated drawing this scene [when Isabela gets kicked] where Isabela gets the boot to the face. Call me old fashioned, but I was raised to believe that only a coward would ever hit a woman (even a battle-hardened pirate adventurer). I draw at home, and my girls often watch me work in my studio. This was a page I didn’t want them watching me draw. I do like, though, that Isabela gets up, yanks the arrow out, and then soldiers on (and later extracts brutal revenge).”

Michael Atiyeh: “Poor Isabela. It seems I gave her more bruises and black eyes than any of the other characters. [when Isabela is yanking the arrow out]”

Chad Hardin: “It’s always interesting to go back and look at artwork because it reminds me of what was going on in my life at the time. I inked this page [opening panels of Chapter 5] at a ‘draw night’ session at an anime convention in St. George, Utah. I was one of the special guests, but I missed the first day because I was at my grandfather’s funeral in Las Vegas, Nevada. Seeing this page brought back those memories.”

David Gaider: “‘Bianca says hello.’ [quoting the panels being referenced] I adore Varric. I was tempted to have him narrate the entire series [in reference to these three comics], but then again I liked the idea of having each series center on one of the trio’s viewpoints. This book belongs to Alistair, but that doesn’t stop Varric from getting all the best lines.”

Alexander Freed: “Claudio, of course, is not a terribly sympathetic figure. But I wanted to emphasize that he takes this fight as personally as Isabela - he sincerely loved Luis and blames Isabela for the man’s death. I think it’s important to give every character, even the most loathsome, some dignity. [when Isabela and Claudio are fighting]”

Chad Hardin: “Payback! Here is where Isabela extracts her revenge on Claudio [when Isabela stabs Claudio]. I never enjoyed killing off a character so much. I particularly enjoyed putting the look of shock in his eyes. He had it coming. There is something satisfying about killing a ‘made man’.”

Chad Hardin: “Every now and then when drawing comics, I wish I could animate some panels and watch them as a cartoon. It would be great to see this sequence [when Yavana catches Claudio’s soul] in full motion as Yavana snatches Claudio’s soul, makes it reenter his corpse and then extracts information from him until he bursts into flame. It was a very Hellboy-ish moment. I enjoyed the movie that played in my mind while drawing this scene. Hope everyone liked the result.”

Chad Hardin: “As I mentioned on page 17, I rendered the first four chapters in grayscale, which made the black-and-white art look great, but had a neutralizing effect when it came to colors. By the time I drew chapter 4, I had seen the effect it was having and decided to stop using the grayscale so the colors would pop. When I saw this page [when Alistair says to Yavana ‘And we helped you find it’] in print, it confirmed to me that I made the right decision. I honestly feel this art was the best of The Silent Grove.”

Chad Hardin: “I practically painted these pages [when Yavana says ‘It is permitted. Tonight and only tonight’] in thumbnails hoping it would help me choose how to render them in ink. It is so hard trying to figure out how to get a full range of value out of just black and white. There are some artists and inkers that make this look easy. Mark Schultz comes to mind. Michael saved my bacon. Colorists really do so much work when it comes to rendering; this page came out awesome because of him.”

David Gaider: “Here we reveal the existence of Great Dragons (as opposed to High Dragons), and also that Yavana was the source of the return of dragons to Thedas after their departure for so many centuries. But why? There’s the rub, and not even Alistair can trust that she’s telling him the truth.”

David Gaider: “Here’s the controversial scene [Alistair killing Yavana]. I think some fans don’t like that Alistair did this, and have said they consider it out of character. I don’t. From his perspective, Flemeth and her daughters have been toying with the world for reasons that can’t be trusted. They dragged Maric away from his family, from him. One might think his judgement foolish, but considering what Alistair was capable of deciding even back in Dragon Age: Origins, it’s certainly not out of character.”

Chad Hardin: “[same scene as above] This was a controversial page, and there were a lot of people who thought it was out of character for Alistair to kill Yavana (I didn’t see it coming - I mean, you just don’t kill a Witch of the Wild), but here is the thing: this page is Alistair acting as a king. Yavana has been manipulating him, trying to play him like a pawn, and he just can’t allow that. There’s too much at stake, for himself and for his subjects.”

Alexander Freed: “The end? An end, at least [the trio walking off into the distance]. The series needed a note of closure while leading into Those Who Speak (which wouldn’t arrive until many months later). David tweaked the ending in the outline several times, and I did my best to balance resolving Alistair’s emotional journey without resolving the quest. It’s not as clean as I’d have liked, but fortunately, now it’s all in one volume...”

Those Who Speak annotations

Alexander Freed: “Capturing Isabela’s narrative voice was much easier for me than capturing Alistair’s - partly because I’d already written The Silent Grove, and partly because of my own writing proclivities. Rereading now, I wonder if I laid on the (mild) profanity a bit too thick. I’ll leave you to judge.”

David Gaider: “I like the additional detail Alex and Chad put in, letting us see more of Qarinus and more of Isabela’s crew. Alex wanted to give her crew more of a presence, and let her first mate have some face time, so they weren’t just parts of the scenery. Good call on his part.”

David Gaider: “I’m really fond of the formal getups Chad made for the party. Isabela’s actually comes from a concept we didn’t use from the cancelled Dragon Age 2 expansion, if I remember right. And Maevaris came from me asking for ‘someone who looks like Mae West’ - with the wonderful outfit all Chad’s doing.

Chad Hardin: “Maevaris. I love Mae. When David and Dragon Age art director Matthew Goldman spoke to me about designing Mae, they wanted her to be fully female with the exception of her biology. They told me to think ‘Mae West’. Well, when I think of Mae West, I think of her... womanly shape. So, drawing Maevaris was always walking a fine line between portraying Mae’s identity and her biology. The process endeared her to me.”

Michael Atiyeh: “Just like in The Silent Grove, we are introduced to another gentleman from Isabela’s past [when the team meet Lord Devon and Isabela threatens him]. As was the case with Claudio, he will meet his fate at her hands.”

Chad Hardin: “When I was drawing Titus, my kids asked me why I was drawing ‘angry Jesus’ or ‘evil Jesus’. I can’t remember which term they used exactly, but it made me chuckle. I was going for a mix of Rapustin and Joe Stalin, but ‘evil Jesus’ would do.”

David Gaider: “I’m not sure it’s apparent here [when Alistair says ‘I’d really rather not’], but Alistair was supposed to be using one of his Templar powers on Titus (that’s why Titus recognizes what he is on the next page) and disrupting his magic.”

Alexander Freed: “Isabela is witty and charming enough that it can be easy to forget that she’s not, in fact, a nice person. Even after finishing the outline, David was concerned about making her too unsympathetic - but I loved his approach in this series. The dark deeds Isabela commits - this murder included [Isabela killing Lord Devon] - are what make her guilt tangible and no easy matter to overcome.”

Alexander Freed: “I thought the notions of Isabela’s pride in her captaincy and dedication to her crew were some of the most interesting aspects of her character in David’s story. In scenes here [when Isabela is on her ship saying ‘Keep them focused and keep them sober’] and elsewhere, I did my best to emphasize their place at the core of Isabela’s world.”

Chad Hardin: “Most of the time I draw from imagination, but because of the complexity of this page [Qunari trying to board Isabela’s ship] I decided it would work better if I had photo reference. On this page are my nephews Jared (Varric) and Adam, my niece Melissa, my kids Erica, Tasey Michaela (Isabela) and Chad (Alistair), my friend’s daughter Amy, my wife Joy, and the neighborhood kids as Isabela’s pirate crew. (The crew member mooning the Qunari is out of my ol’ noodle.) I paid their modelling fee in pizza and root beer. Also, I had originally drawn cannons on Isabela’s ship, so if there are parts of it that look slightly wonky, chances are there was a cannon there.”

David Gaider: “Ever since the BioWare artists finally did a concept for female Qunari, I’ve been itching to include one in the game. It’s always slipped through my fingers, so I was going to be damned if I’d have a Qunari plot in a comic - without the same technical limitations - and not have one present.

Chad Hardin: “I had no idea this was the first time anyone outside of BioWare had seen a female Qunari.”

Michael Atiyeh: “I really like the lighting in this sequence [Isabela in her cell thinking ��I haven’t eaten in days’], especially the strong white light and the characters in shadow.”

David Gaider: “The entire sequence of Rasaan interrogating Isabela was something I plotted out in detail when this series began. Here they discuss names - something treated in a manner peculiar to the Qunari, considering how much importance they apply to what things are called (and not called), because it forms the core of their identity. Isabela brushes it off, but as we find out later it’s also at the core of her identity. I liked that parallel.”

Alexander Freed: “To balance out the relatively static talking pages elsewhere in the issue, I hoped to make the interrogation and flashback sequences beautiful and full of information. I proposed an approach to Chad, and he wisely reshaped it into what you see here [the page with the scene where Isabela says ‘I’ve made a lot of stupid mistakes’]. Anything that succeeds on these pages should be credited to him; anything that fails is my fault.”

Chad Hardin: “Probably the most challenging spread I have ever done. My friend Stacie Pitt was the model for Isabela on this page, and my wife Joy was Rasaan. I saved these pages [around the scene when Rasaan says ‘Mistakes can be corrected’] for myself.”

David Gaider: “Sten from Dragon Age: Origins becoming the new Arishok of the Qunari was something we'd planned even during Dragon Age 2. This was a great opportunity to show that, and also to show that Sten didn’t acquire horns even despite the makeover the Qunari received in DA2. Hornless Qunari are considered special, and Sten is no exception.”

Michael Atiyeh: “I think that David, Alex and Chad handled Isabela’s flashback [to when she was sold by her mother] in an interesting way, and it created a nice flow to the story.”

David Gaider: “This was a controversial scene [what happened to the slaves Isabela was transporting], the end result of a lot of discussions between me and Isabela’s original writer on the team, and it went through a lot of revisions over that time. It needed to fit with the story Isabela told the player in DA2, but fill in the blanks of what she didn’t tell. We didn’t want Isabela to be someone who became who she is because she was ‘broken’ but instead as a result of her own actions - yet also not be completely beyond redemption.”

Chad Hardin: “These were hard pages [as above] to draw. It was difficult knowing that events such as this are part of human history, such as the Zong massacre in 1781, where the British courts ordered the insurers to reimburse the crew of the Zong for financial losses caused by throwing slaves overboard when faced with a lack of water. Horrifying beyond words.”

Michael Atiyeh: “Here, Isabela visits here crew, and I wanted to play up that she was in the light and they were in a dark cell. The light streaming through the bars gave me the opportunity to highlight Brand, who also had dialogue in the scene.”

Alexander Freed: “I struggled to find a way for Varric to contribute to victory without distracting from Alistair and Sten’s big fight. I’m happy with the solution: a brazen lie seemed appropriate to the character without taking away from the main show.”

David Gaider: “I believe my original plan had Isabela’s and Alistair’s fight scenes happening separately, but I like how Alex intertwined them in the script and I especially like how this ends up highlighting the differences between their characters when their fights are resolved. Isabela is defiant, revealing her name not because Rasaan demands it but because it’s her choice. In both cases, mercy is strength.”

Michael Atiyeh: “The brush I created for the clouds really gave them a nice watercolor effect here [on the deck of the ship, Sten calling Alistair ‘kadan’]. That brush has become a staple in my toolbox.”

Alexander Freed: “With the strong theme of names running through these issues, I liked the notion that Isabela had outgrown being, well, ‘Isabela’. When her name comes up in Until We Sleep, it’s largely played with ambiguity.”

Until We Sleep annotations

Alexander Freed: “The story of ‘Arthur’ is one of my favorite minor sequences [Varric infiltrating and fighting his way into the fortress]. It tells us something about Varric and it delivers plot information - and it’s also a reminder that our heroes kill an awful lot of people during these series and cope with it in their own ways. In general, writing Varric let me skirt the edge of metacommentary, which I greatly enjoyed.”

David Gaider: “Varric, as always, is my ‘voice of the narrator’. Here he’s expressing some of my own amusement at Alistair’s growing list of peculiarities [‘Your majesty is quite the special snowflake’]. To think, back at the beginning of Dragon Age: Origins he was just the player’s goofy sidekick who grew up in a barn.”

Michael Atiyeh: “By the third series, Until We Sleep, I really started to have a complete feel for what I wanted the final art to look like. As an artist, it’s important to continue to evolve and grow. The close-up of Sten’s face [same page as above] is a perfect example of how I wanted the rendering on the characters to look.”

Alexander Freed: “David’s outline called for a short, somber reveal of the Calenhad story by Sten. Fueled by my desire to avoid ‘talking heads’ sequences, I scripted it as a full-on storytelling flashback. David made sure the history worked (at least from the Qunari point of view), and Chad did a beautiful job handling it in a mere two pages.”

David Gaider: “Blood is important in Dragon Age, as a theme. Here we tie in the dragon blood that was mentioned all the way back in The Silent Grove and explain what it means at last. I was a bit hesitant to tarnish the legend of Calenhad the Great in this way, but I comfort myself with the knowledge this tale is but a viewpoint and not necessarily the entire truth.”

Michael Atiyeh: “Titus melting the attacker is a great example of classic comicbook storytelling and exactly what made me fall in love with the medium.”

David Gaider: “I was really happy with how Chad handled the reveal of Mae as transgender [the scene with Mae in the cell]. My worry was that Varric finding her disrobed might be potentially titillating, but I think he handled it nicely. I only wish there was more time to have Mae properly respond to being exposed in this manner, even to a friend.”

Chad Hardin: “I originally drew Mae as female [same scene as above], then changed her anatomy, so the psychological violation and humiliation she felt would be the focus. Hope that came across.”

Chad Hardin: “When in doubt, have Bianca shoot it [Varric shooting the artifact].”

David Gaider: “This scene [Varric and Bianca the dwarf] with Varric was one I wanted to do for a very long time. We’ve hinted that Varric’s crossbow was named after a real person, someone he never wants to talk about. Now I finally had the chance to show why.”

Chad Hardin: “Of all my Dragon Age pages, this scene was hands down my favorite, because Varric is my favorite. It was awesome to get to draw Bianca in her dwarven form. These scenes give you a glimpse of the love Varric and Bianca shared. It doesn’t tell you the whole story, but you can assume plenty from what is shown. You get to see Varric mostly naked (you’re welcome), but most of all you witness Varric’s heartbreak. I felt privileged to draw it. I got so obsessed with drawing this page I did an entire watercolor painting based on the last panel [Varric gets up to leave, ‘This isn’t right’ - ? or perhaps the scene where he opens the door to leave].”

Alexander Freed: “Unreliable narrators are always tricky - done wrong, they can just confuse the reader. But I’m fairly happy with Varric’s lies throughout this series, most of which are used to downplay the emotional cost of events rather than whitewash the events themselves.”

Michael Atiyeh: “This palette worked perfectly [Varric standing in front of the doorway/portal in the Fade proper], but I can’t take all the credit because BioWare provided reference for the Fade. I added the hot orange energy for the doorway, which looks great with the sickly green sky.”

David Gaider: “This scene [Isabela’s Fade nightmare] was actually inspired by a fan named Allegra who did a cosplay as a Qunari version of Isabela. I knew I wanted something like this for Isabela’s Fade section of the comic, but it didn’t really solidify until I saw the cosplay.”

Chad Hardin: “Isabela is more affected by her encounter with Rasaan than we were led to believe. A portent of things to come?”

Michael Atiyeh: “I love this shot of Mae in the fourth panel [on the page where Isabela is affected by vines]. I would be remiss if I didn’t mention what a great character she is in the series, and Chad captures her beautifully in this shot.”

Alexander Freed: “I saw this issue as a sort of downbeat victory lap. Over the course of the previous series, our protagonists largely came to terms with the inner demons the Fade confronts them with here. The fact they’ve come so far lets them win this last battle... but they still have scars that will never completely disappear.”

David Gaider: “Maric was in the first two novels I wrote for Dragon Age. Seeing Chad’s rendering of him as a regal, grown-up version of Alistair made me incredibly nostalgic. Some characters you just never let go of.”

Alexander Freed: “I feel Varric’s lines (‘tell yourself the stories you need to tell’ but ‘never live your own lies’) are the natural endpoint of all the exchanges he’s had with Alistair, starting from the end of Chapter 1 of The Silent Grove. And of course it plays off the story of ‘Arthur’, as well.’’

Chad Hardin: “I’m happy with the way Titus came off in these pages [Titus attacking and saying ‘The last magisters of Tevinter were so close’]. He looks threatening and powerful when fighting Alistair, Isabela and Varric, but genuinely confused by his inability to defeat Maric. Bye-bye, evil Jesus.”

Alexander Freed: “I can’t help but feel for Titus. He was unthinkably corrupt, but I see him as genuinely motivated by Tevinter’s glory. (The fact Alistair reads zealous ideology as a lust for power says a lot about both characters.)”

Michael Atiyeh: “I love the seamless transition of color from Titus’ magic to the dragon breath and then back into the orange remnants of his magic in the smoke. This was a really fun panel to color [Titus saying ‘Die by what wrought you’].”

David Gaider: “‘You are not the dreamer here. I am.’ I always have a scene or a line that’s in my head when I begin a tale, and this line of Maric’s was one I wanted all the way back when I started working on The Silent Grove.”

Chad Hardin: “I love this page [Maric and Alistair clasping hands]; Mike’s colors are spot on. We get to see all our heroes in an ideal state for the last time. This is the last Dragon Age page I saved for myself.”

David Gaider: “This scene kills me [Alistair destroying the Magrallen]. I knew it needed to happen; I knew I wanted it to happen even back when I began the story. Alistair lets Maric remain in the Fade rather than dragging him back to a world which has moved on. Alistair’s ready to move on, but forcing him to give up that hope... it makes me feel like a bad person.”

Chad Hardin: “Heartbreak for Alistair as he realizes that once again, as a king, he must kill: this time, his own father (granted, the Magrallen did most of the work). I really like how Maric crumbles away in the end. This was my last page, and the emotions on the page and in my studio were very final. Altogether, this was a year of my life in the making. On my last page, I wrote a thank you to everyone involved, the crew at Dark Horse and the crew at BioWare. I’d like to take this opportunity to thank them again. It was a thrill. Finally, a huge thank-you to the Dragon Age fan community, whose support was overwhelmingly awesome.”

Michael Atiyeh: “As the story came to an end, I knew I was going to miss these characters. Writing these annotations reinforces the fact that I hope to work with this great creative team again one day. Many thanks to Dark Horse and BioWare for the opportunity to work on Dragon Age.”

Alexander Freed: “The tension between the art and the narration on this page [the one with Alistair sitting on his throne while nobles argue] is something you can only pull off in comics. Neither tells the full, bittersweet story alone. Similarly, these issues wouldn’t have been possible without everyone on the team; thanks to David, Chad, Michael, and everyone I lack space to list!”

Additional pages / art

Library Edition Volume 1 also came with some additional pages, with additional art and commentary. These are as follows (I’m including them for the sake of completion, click the links to see):

1. Alistair and dragon concepts

2. Rasaan and Maevaris concepts

3. Sten, Titus and Yavana concepts

4. A series of cover pages 1

5. A series of cover pages 2

In case anyone has trouble reading the notes that accompany these images, I’ve transcribed them below:

1. Dragon Age Sketch Book

Alistair Concept 

Dragon Age / Dark Horse

Chad Hardin: ��The headshot of Alistair is from a finished sketch with a rejected armor design. In order to save time, the redrawing was completed on the computer, where tweaks and changes are quick and easy, if somewhat less glorious.”

[Dragon] Head #1 / Head #2

Chad Hardin: “Everyone liked this dragon sketch so much that Dark Horse printed it for signings at conventions. You can see I did multiple proposals for the dragon’s head. It was more effective than drawing the body over and over.”

-

2. [arrow pointing to Mae’s sleeve] concealed [I think that’s what it says anyway] daggers / shurikens?

Chad Hardin: “When designing Rasaan and Maevaris, I wasn’t exactly sure how their roles would play out in the series. Maevaris’ outfit was inspired by brothel madams of the Wild West. I thought it would be cool to have some weapons concealed in the formal wear. These never came into play in the series, but they were there in my mind.”

-

3. Chad Hardin: “Although we only see Titus in his battle garb in one issue, I really liked the design of his armor. The sketch of Yavana was done on the fly and served as both a rough preliminary sketch and as a panel layout. You have to work hard and smart in comics to keep up with the deadlines.”

-

4. Cover Artist Anthony Palumbo: “This was my first assignment for Dark Horse, and I was both excited and nervous. I drew pencil sketches of the main characters, scanned them and played with different arrangements, poses and color schemes in Photoshop.”

-

5. Anthony Palumbo: “Fellow illustrator Winona Nelson helped me by sitting for photo reference. I created the mock-jewelry with gold-painted Sculpey. That’s a quick photo of my own gaping maw, to help with the image of Varric.”

[animatedminds]

Scoob! Review

Apologies: I watched the movie  two weeks ago, but forgot to write this because I was so busy doing the Dragonball FighterZ thing. But, with that out of the way...

An interesting ride. As a longtime Scooby Doo fan, it was pretty much a given that I would watch this installment by the Warner Animation Group as soon as possible, and I had a pretty good time - albeit with some issue. It’s a fun Scooby adventure, mostly focusing on Scooby and Shaggy, as they go on a new kind of adventure. It’s full of fun references, super charmingly animated action scenes, and lots of humor that actually nails the characters’ goofball antics without diminishing them as the butt of the joke - which is something the previous theatrical series was hit or miss about - which which is also hampered by the fact that it doesn’t really give itself enough time or space to really make any of those things shine.

Spoilers, but only a couple.

The first thing we ever heard about this movie years ago was that it was conceived as a dramatic retool of Scooby Doo into a out-and-out spy series, in order to set up a Hanna Barbera cinematic universe a la the MCU (which, given that they already had a shared universe they could adapt in Future Quest, hit a little hard), giving the impression that Scooby was going to be a pastiche of James Bond. It’s very obvious from the finished product that this concept was since heavily changed, but you still see it in the film. The gang is still the same-old gang - a bunch of kooky teen mystery solvers - but plotwise it’s very much “what if instead of solving a mystery, the gang just fought a supervillain?” Which, let’s be clear, is not unheard of for the franchise: see Scooby Doo and the Cyber Chase for another story that’s mostly just “fight a cool bad guy, with a tacked on mystery,” or the other Shaggy and Scooby-centric stuff like Ghoul School or Reluctant Werewolf for other movies that just plain eschew their usual setting entirely - this is a lot like those. It’s centered around the two characters’ relationship, like pretty much every theatrical Scooby release it seems, as this new challenge almost breaks their union, and the group as usual does very well in that kind of action. Faced with an army of dimwitted robots that can go from silly to terrifying multiple times in the same scene, Scoob and Shag’s typical mix of silly bumbling with surprisingly - and destructively - clever antics make for some great scenes, my favorite being a madcap chase through an amusement park that ends with them getting away on a ferris wheel that’s been knocked of its hinges.

This is very much a movie that wants to be a Hanna Barbera crossover, but is trying hard to restrain itself. As a kid Shaggy was a fan of the Impossibles (who, iirc, were once intended to get a movie as part of this universe) with models and posters that the camera never completely focuses on, you see Laff-a-Lympics on an arcade machine, references to classic Scooby writers and actors as location names (I laughed at Messick Mountain, and the Takamoto Bowl outright went over my head at first), even little things like Scooby bowling like Fred Flintstone or the blink and you’ll miss it appearance of Yankee Doodle Pigeon - and yes, Captain Caveman shows up, fully voiced by Tracy Morgan and kicking butt for a very short scene, with one of his show’s supporting characters (Dee Dee Skyes) as a prominent in this movie’s plot. There’s even musical references in addition to visible ones: at one point, the movie even orchestrates one of the classic bits of Scooby Doo background music. I was hoping for a reference to the classic Scooby Doo / Blue Falcon theme, but alas that was one nod we didn’t get.

However, this approach does work especially well with Blue Falcon - who was originally built up through Scooby Doo, sharing a timeslot, advertisement and technically a theme song, and in time has more or less become to Scooby Doo what Donkey Kong is to Mario: technically a supporting character, but able to do his own stuff every once in a while. There have been several Blue Falcon Scooby Doo crossovers in the last few years (though in terms of sheer number of references this movie’s got nothing on Mask of the Blue Falcon), and they’ve all been very fun as each show, movie or comic reinterpreted the character to fit their specific world - and this movie’s novice Blue Falcon who is kind of an egoistical loser, but turns out to have a lot to learn even from Scooby and Shaggy’s brand of cowardly bravery, grows on you even if he has kind of a rough initial landing.

Unfortunately, this is also a movie that very much wants that rigid hour and a half timeslot, and has absolutely no interest in a going a second longer - and that’s where it’s problems come in. I’ve said before that animated films have become more and more written with expediency in mind: plot points are rushed, denouements are minimized, side or even main characters might not get much utilization, and sometimes things come of as just kind of happening to the protagonists without much set-up. Even the best or the best animation companies fall into these traps at times, and this movie is a good example of what it looks like if you fall into that too much. Take the Scooby gang - Velma, Daphne, and Fred. They’re not really fleshed out that much in this movie, even if they were tweaked a bit with their new VAs - but that’s not necessarily a problem in itself, given the heavy focus on Scooby and Shaggy. What’s more noticeable is where this intersects the plot: for example - one of the better examples of what I’m talking about - the scene that kicks off the whole story. Fred, Velma and Daphne want to expand Mystery Inc, and call Simon Cowell to invest in them. Cowell decides Scooby and Shaggy are incompetent because reasons, and the two storm off. This is later framed as the gang abandoning the duo, that’s not really what happens. Once Cowell hits the scene, beyond one or two lines the rest of the gang essentially ceases to exist, and barely reacts to anything: there’s no moments with them where they seem to buy into what Cowell is saying, there’s nothing beforehand that implies that they’re dissatisfied with Scooby and Shaggy, there’s isn’t even really a status quo for what their dynamic is like. We cut straight from them meeting as kids to them having a supposed fight as adults - this is something that wouldn’t have taken a lot of time, but would have strengthened pretty much everything, from Scooby and Shaggy’s reaction to the trio’s guilt later, but is skipped over entirely. The others get very little beyond being summed up as “the muscle” (Fred), “the face” (Daphne) and “the brains” (Velma), and it feels less like expediency and more like we missed a scene somewhere.

Granted, this particular thing also runs a unique problem that the Scooby gang face. As characters who just turned fifty and who are well entrenched in pop culture, adaptations often assume you know who they already - and this movie definitely assumes you can do its work for it and establish a baseline for the Scooby gang on your own... and on that front, I suppose it does better than the previous film series, which based a lot of its humor on fandom in-jokes they poorly assumed everyone agreed with. But... there’s a degree to which every film needs to establish a baseline for that it itself to trying to do, and I think skipping this hurt the film more than it should have. And it’s hardly the only point where the need for speed cuts out the flow of the film. Scooby and Shaggy get abducted by Blue Falcon, whose assistant then promptly exposits on everything the audience doesn’t know yet about the plot so that they can just skip straight to more action - basically setting up a question and then answering it immediately without set-up. This essentially robs Dick Dastardy - definitely the best thing about the movie - of a strong introduction, in favor of, again, expediency, and it’s kind of baffling given that there’s later scenes where the rest follows the mystery and so repeats that exposition anyway. I mentioned that Blue Falcon himself got a rough initial landing, and that’s because his intro scene is just a lot of new element popping in with exposition, interspersed with pop culture references - and that exposition just stops the whole thing cold for a while. We hit again the “expects you to know” angle with Falcon himself, who is a legacy character of the original Falcon - who we never see, which raises the question of why they bothered to make him a legacy and not just a novice hero in the first place. I’ve always been a strong believer that you can introduce elements without needless explanation unless who introduce concepts that suggest explanation: Scoob and Shag being a fan of the original Blue Falcon, Dynomutt constantly reminiscing about him, and there being a full Falcon organization around which the movie pivots, along with lots of reference, suggest the need for at least a little more than we got - even if it’s just a thirty clip of the way Blue Falcon worked before Brian (the new Falcon) came along - but the movie just wants to rush past it. The entire quest on which the plot is centered it halfway through when we first encounter it, and doesn’t get any explanation at all until halfway through the movie. And then there’s little things like  Captain Caveman cameo, which just leave you wanting more.

This happens again and again, with plot points, characters, all sorts - things introduced halfway and then brushed past as though they’re not. People don’t expect much from animated movies, and stuff like this is one of the reasons why - this movie feels sometimes like it was written for tv, which is ironic given how it ended up being released. But the movies that were themselves DTV or released to TV, like Shaggy’s Showdown or Legend of the Phantasaur, the aforementioned Mask of the Blue Falcon or - my perosnal favorite - Moon Monster Madness, even tend to not have these problems themselves, because they’re more measured and precise about what they want to introduce and why. It’s great to be childish, as long you do childish well.

But now that the criticism portion of the review is done, I will say that this doesn’t hamper the movie’s desire to be fun and easy to follow, it just makes it not as much so as it clearly could have been. If you wanted more Falcon, or more Scooby and Shaggy, more Mystery Inc shenangians, more Dastardly, more adventure, more of a certain gag or humor, more of really any of the movie’s best points, you weren’t getting them that much because the movie was trying to do all of them all at once. But one the movie starts getting traction, about halfway through, that starts to fade as everything coalesces. All the characters meet, we finally know what the heck is going on, and it’s just a straight shot to the end with lots of what this movie does best: cool visuals, silly characters doing silly things, and brave characters doing brave things. Much as I wish there was more to the Captain Caveman segment, it’s one of the most visually hilarious parts of the movie, with the stark contrast of these hi-tech, modern character colliding with these explicitly more cartoony prehistoric designs and antics, and its just wonderful. Everything about Dick Dastardly’s story is great - though I was wishing for a Penelope Pitstop reference - and he even gets a heartwarming conclusion to the whole thing.

I don’t know where the series is going after this - whether they do indeed intend to make more Hanna Barbera movies in this vein. The credits teased Johnny Quest, Frankenstein Jr, Grape Ape (who according to concept art was supposed to be in this one), Atom Ant, and even a bit of Wacky Races, and it’s clear they have the love for classic Hanna Barbera to make it happen. I just hope that if they do, they go with a series who can expand this in a more concise way, with a little better character introduction. I’ve still got my fingers crossed for Future Quest.

The film is still very recommended by me. I loved it, I watched it twice, and it a heck of a lot of fun even with its hang-ups. If you haven’t seen it, there are worse ways for a parent, a kid, or just a big ol’ child at heart to spend an afternoon.

[rutilation]

Let’s talk about chapter 81

 I have a fondness for anticlimax humor, so I found this chapter to be pretty hilarious, alongside all the heartbreak and intrigue.  This woman threatens to dump the ending of Eva on us, keeps us in suspense for a month, only for Phos to be too much of a klutz to bring about third impact.  It reminds me a bit of the bait and switch with Shiro.  I love it.  This bit was great too.  After keeping his duplicity in the realm of subtext for nearly thirty chapters, Aechmea just comes right out and says, with a flummoxed expression, that he has more terrible secrets than he could possibly explain within twenty minutes.  Ichikawa went right for my jugular.

Many others have already written at length about how Rutile’s attempt to find purpose in repairing Padparadscha has completely ruined their relationship and made Rutile a worse person in the process, so I won’t retread that old ground.  But, I would like to reiterate that this attitude is a reoccurring and prominent thread of the story.  Bort found purpose in protecting their beloved Dia, but in their zeal, they drove Dia away by making them feel like a useless burden, by expecting them to be content with existing as a mere object of protection.  While Aechmea doesn’t seem to find purpose in Cairngorm, he does act entitled and possessive towards them, would greatly prefer it if Cairn acted like a passive trophy wife 100% of the time instead of just 85% of the time, and generally pushes back whenever they try to do anything remotely proactive.  And who can forget that time he pitched a fit when Cairn actually went against his wishes.

Phos is one of the few to buck this trend.  Their reaction to the debacle with Cairn was pretty even-keeled, especially considering that they don’t know what went down in chapter 67.  They’re clearly bitter and hurt, but they still took Cairn’s advice to heart, and also asked if they were okay before leaving for earth.  And in this chapter, we got some insight into how they feel about their other failed relationship.  At first, they reached toward the clipboard with a look of desperation.  But, in the moment that they realize Cinnabar has left both them and the promise that gave them purpose behind, there is no desperation or rage—only resignation. The typically implacable Phos admits defeat without a fight.  It’s a deeply sad moment, but the way Phos refuses to let their feelings curdle into spiteful entitlement is downright refreshing.  This could be considered another parallel they share with Kongou, who is also very accepting of other’s choices and desires, even to his own detriment.

Anyway, hopefully this is a turning point for Rutile so that they’ll snap out of their terrible attitude and rethink their life, or something.

In chapter 72, Cairn offhandedly mentions they have no idea what Aechmea is talking about most of the time, and that they prefer to keep it that way.  This was the first of several hints indicating that they’re kind of terrified of finding out what Aechmea’s deal is.  In particular, this line from chapter 75 seems to have really rattled them—they’ve brought it up several times now, and it’s been on their mind even after the long time skip.  When Cairn thinks they’re about to die without learning the truth, they confront Aechmea directly, but the second that Phos messes up, they back down and return to more trivial topics of conversation.  (This is also the moment the moe eyes return after being largely absent for a chapter and a half.)

Their line here is a callback to what Aechmea said in chapter 78, and probably a deliberate one on their part.  If I were to read between the lines, I think what they’re really saying is something this: “I know I’m not getting anything out of you at this point, so I’m not even going to try.  Also, I’m going to pretend everything is fine and that this debacle never happened.  Secrets?  What secrets?!”  As per usual, they’ve taken one step forward and two steps back.  But, as much as Cairn might wish they could, they can’t un-open Pandora’s Box.  I will say, though, that I’m a little nervous about what lengths they might go to in order to keep things as they are, so that they don’t have to face those potentially awful truths.  

(Y’know, I can’t help but see some parallels in my own emotional reaction to this series.  On one hand, I really want to know what happens next, and where Ichikawa is going with all this, but at the same time, I kind of want to remain ignorant of all the strife to come, and instead escape to some 500k slowburn cinnaphos coffeeshop AU.  It would be so much less stressful if Phos were breaking the espresso machine* instead of my heart.)

Anyway whatever this secret is, I suspect it might re-contextualize chapter 67.  Ichikawa seems to value the agency of her characters a lot, and the plot tends to progress because of choices instead of contrivance or coincidence (more on that in a moment,) even if it means that those choices make a previously popular character less sympathetic.  With that in mind, I doubt Ichikawa intends for Cairn to get away with abdicating responsibility for every choice they made before chapter 68.

For the past handful of chapters, Phos has seemed pretty suicidal.  So, it’s interesting that even after saying they’ve lost the will to go on, they nonetheless ran for their life when the others started chasing them, instead of throwing in the towel and simply letting themselves be shattered.  It seems like they still have some fight left in them, even if only subconsciously.

Speaking of Phos’s subconscious, I’ve saved the aspect of this chapter I found most fascinating for last—the way in which the apocalypse is averted by Phos, uh, knocking over a table and making too much noise with their spider-limbs.  This is pure speculation, so take it with a grain of salt, but I think it’s possible that Phos alerted the gems on purpose. According to what Aechmea said last chapter, they’ve been looming over Kongou for two whole hours, so it seems a little odd that they’d lose their balance now, at the last possible moment.  While it is, as I’ve stated earlier, totally hilarious, this turn of events is a little too convenient, especially for a story that’s so aggressively character driven.  As I wrote in my last essay, it’s most fitting that this moment comes down to Phos or Kongou’s choice, so I’m inclined to believe that is, in fact, what happened.  I also think it’s quite possible that this act of self-sabotage was subconscious, like some events earlier in the story such as Phos’s out-of-control legs, or the cage made of their arms.

Furthermore, remember how Phos came to earth this time around with the hope that Euclase would be willing to hear them out?  Well, if this blunder was, in actuality, a veiled cry for help, then their original plan has actually come to pass, just not in the way they were expecting—which is kind of the story of Phos’s life.  (Man, it feels weird to try and adjust my brain to Euclase-stan-mode.)

Regarding the framing of the scene, we only see the moment Phos trips from Aechmea and Cairn’s perspective, and we don’t get a clear look at the action until the table has already tipped over.  That Ichikawa chose to compose the scene in this manner leads me to believe there’s some sleight of hand going on here.  Not to mention the fact that we’re not privy to Phos’s thoughts for the entire chapter, and it’s a little hard to parse their expressions when their face has been pureed.

Assuming my interpretation is correct, if I were to take a stab at why Phos backed out, it would be this:  

A.    They can’t stand looking at a snail in pain for five seconds, so watching Kongou stare up at them for two hours with the expression of a ewe watching its lamb ride off to the slaughter house might have been more than they could bear.

B.    It’s been established that they already suspect Aechmea of withholding information, so perhaps they’re hesitant to give him what he wants without knowing the consequences.

Like I said, this is merely a possibility…but if it is the case, I would like Phos to know that I am very proud of them.

And finally, a few little observations that don’t fit in anywhere else

Judging from context clues, it seems that after Padparadscha was cured of their mercury poisoning, Aechmea removed their replacements, hid them away, and told the others that they were dead, or something.  What a dick.  The question is, why did he do that?  They have shown themselves to be much more canny and goal-oriented than the other gems on the moon, so maybe Aechmea didn’t want someone like that around, and used the opportunity to get rid of them.  But, who knows?

In chapter 79, it seemed like there was a huge hole in Phos’s torso, but in this chapter, what pieces are missing seems to change from drawing to drawing, so ¯\_(ツ)_/¯.  

Regardless, there are consistently huge chunks of their head and legs missing, and the earth gems are unlikely to just give them back, so it’s likely they’ll be replaced.  Their replacements are just as much a part of the Phos we’ve come to know as their original material, so the prospect of losing even a part of those replacements is rather sad.  Those legs were gifted with love, dammit!

My boy cicada came to save Phos :,).  IIRC, Cicada and Ventri are the only characters who have given Phos a hug over the course of the story, and are thus the only valid members of the supporting cast. Padparadscha is also allowed into this exclusive club for giving Phos a very comforting head pat.

Bort has started wearing powder on their left leg again.

Amethyst(?) brought a rope along.  Like this is some sort of Phos-rodeo.  Hilarious.

*bonus points if the espresso machine is nicknamed “sensei”

[shy-magpie]

RQG 146

[Author’s note: Sorry about the long break! I caught a bug and haven’t been able to edit for love or money. I have been writing the live blogs as the episodes come out but I suspect I will have to edit the stuffing out of them to get something that is both coherent and not twice as long as the show. Also I’m going to try to remember to toss a cut at the top of these things so it doesn’t take up so much of the dash etc.]

I love when they go auctioneer because they want to get to the content faster. Ooh reminder that the party have slightly conflicting goals. I almost spaced that Zolf's priority is the info to save the world while Cel is more narrowly focused on taking out the threat to their village. 

Final bets on whether: 1) the timelines are simultaneous 2) its the same room 3) who(or what) is in the chair ~Hamid time~ Another stealth check and I think Alex rolled something secret. I love these nerds, I don't think they even noticed they slipped into the more precise language of math to describe the place, always makes me feel trusted when people don't hide that kind of thing. Bulk head doors are a good sign. Alex might be trying to build up to it but Bryn wants to get a description of the figure in the chair as badly as we do if not more. Full blank-masked male, cables from the chair to the organ. Ben, sweetie, we aren't going to shoot-first-ask-questions-later, or even take that as your serious suggestion moments after you reminded us Zolf is aiming for capture. "Could be another one of the dead bodies" Pardon me while I glitch on the idea that it being another member of the doomed party is the only thing that I can't recall being proposed over the last week. Am I forgetting or did Figgis actually come up as a suggestion but not that? Alex adds a ladder, to save Hamid one of his last spells "Tension, tension, tension" I can't parse how many of them are chanting but who ever that is, know I adore you. I should be vibrating from stress and instead I'm grinning like a fool. Thats my boy! Hamid's spell slots might be running scary low but his mind is sharp as ever, he remembers his potions! Oh dangerous game, but the extra time invisible as he gets closer sounds worth it. Picked up a few things from Sasha. "Think" Alex is actively trolling. The lights are bad? You choose to do that, Alex, put away the "victim of circumstances" tone. Oh the organ! I needed a better description of that. Lydia might be the only one who loves this description more than me. A pipe organ that makes potions instead of music? Bryn has heard of one where each key is an alchemical symbol. I might need to hunt down art for that if its a known pathfinder thing. Hamid recognizes it but is the wrong school to understand this, both by training as a wizard and as sorcerer. The pipes are actually full of various fluids and powders. Yes Cel needs to see this. Thank you Helen! How much money has he spent on this? Where is he getting the money? I need that clipped! (tension chant evolved) Oh hell of a bet Hamid Sasha would be proud. The table is so proud of him. FTR I think that was Ben not Bryn saying "I stroke his cheek", because Bryn wouldn't risk Alex making that joke canon and using it to hurt Hamid. (naturally there was such no risk if Ben made that joke) Cable to the back of the neck, in clerical robes (crap I remember a “Shoin the healer painting”(?) but I thought he was an alchemist? Is this an assistant? Mini boss? Or is he multi classing), a party mask? Back to that theme. Its a prop corpse and its not the same room, I'm going to scream. Hamid don't you dare! Dollars to donuts its going to stand up and be some kind of creepy corpse robot Hamid waves Skraak in Speaker time, Shoin sounds worse maybe off script. ~~party time~~ Oh Cel has to lose most of the beast voice. Never mind! Smaller pencils acquired! I love this description even better the second time around. Oh bless Lydia for giving the fuller description. 55 HP! 14 Con! Comfort beard. Ooh Azu has a potion to make her even further stronger than Zolf. (iirc she had 1 point over him already) Yes he is in fact lawful evil and no he doesn't ever let them rest. Wise Cel/Lydia! I love Azu's auras! Aura of courage sounds especially useful. Yes yes Azu is good, brave, and resolute. Oh poor Zolf can't prep without either sleep or knowing for sure the fight is coming. Cel actually has 59 HP thank goodness! Another hall? Its circling the dome Hamid is in. It better be the same dome! I feel a bit like I'm betraying the party to enjoy the set design when the set is designed to kill them. They go as fast as they can while checking for traps. I refuse to parse that any other way. Oh poor Alex, we appreciate the set design even if the characters don't. Next door has a porthole to look through. Bless Helen/Azu for reminding them to check for traps. Cel can still disable it! It was a hand buzzer? Oh, to waste spells. Missed an in laid wood image of Shoin as a saint. This guy has too much ego and money. Anyone else thinking of that old joke where a guy has to become a monk to be allowed to find out what is behind a ridiculous number of doors and the punchline is you have to become a monk to find out what he saw? Ok it is a good thing its not the right door ~Hamid time~

Alex you troll! I refuse to concede we needed something to bleed to the stress levels. Shoin’s voice officially probably not a pre recording. I love Hamid! Hangs a handkerchief over the corpse's eyes. Poseidon? Couldn't be any god other than Zolf's ex? Ok doesn't seem in good enough shape to be a necrobot, but the organ might change that. Metal chairs sized for the party bolted to floor. I think Hamid is officially having fun not following Shoin's suggestion to sit at the table. Look at the leader in him collecting the paperwork Official connection between blue veins and the simulacrum! Also a spot for the power source Liliana was working on? Red string joke! ~break~ He Acid Blasts a speaker and it pisses Shoin off. Yeah "young man" was exact wrong thing to try. Were you trying to hit his daddy issues? I love one troll and 1 Kobold! Minion this! If Hamid speaks up? Shoin’s sense are fallible, might come up later Hamid is the best! Might die of being the best, but if he has to go its fingers up. Halfling, Dragon and troll, not a damn inch of leverage except what he gets Shoin to give him by refusing to follow orders. Pretending to attempt to comply is so much more frustrating (and better listening) than if he simply went "shan't". The party comes in! A swear! Not really another way to put it. The corpse explodes! Is Shoin the organ itself? A hug! A Cel & Hamid hug! Zolf backs Hamid's play, and  joins in Shoin baiting. Hamid hugs Azu and Zolf! Finally a proper Zolf hug! Cel finally gets to check out the organ. It prioritizes looks over efficiency and isn't just a potion maker. Some of it goes over Cel's head. Cel blocks the outlet. Lydia still thinks slightly sideways like me, and I love it. The cylinders are near boiling. Hamid orders Skraak to safety! Cel tries to hug Skraak, but Skraak doesn't recognize them. Poor brave little guy tried to attack before they can explain. Cel takes chatty!Skraak well and they have another little bonding growl exchange. They get ready to skip Shoin's game and go to the next room. Bad sounds. Fist sized drops of luminous green liquid from the top of the room that don't act right. Zolf attempts open the door to the next room, Hamid sprints towards it. Thank goodness someone wants to live. Natural 1? But its initiative, so that shouldn't hurt too badly right? Right? No effect thank goodness Homing blobs? I am torn exactly between that being cool and not something I want the party to deal with. How many fire balls does Hamid have left? I think Cel is out of bombs, and if we remember nothing else from Kew its that swarms require explosions. Zolf! Its the big brother of the buzzer door and is locked to boot. Azu attacks the goo nearest Zolf. Helen is too wound up to remember how to roll. Bryn and Ben couch her through it in that RQ way. Cleave! More blobs and the existing ones move towards people. Magic missile! 4 pews! 2 at the nearest to him, 2 at the one nearest Cel. I'd say squishy solidarity but Cel is pretty tough for once. Cel shoots the nearest 3? Then flies up 10 feet up and towards Skraak. Zolf blesses the party! Fair Alex! Not everything has to have a mechanical effect. Azu attacks again. It explodes, if Azu hits it it will die.  At least one person should be safe. Skraak! He froze! Worth a shot Ben You'll see? It tries to blob Skraak and isn't big enough to hurt them. Is Skraak safe from collateral damage? Hamid and Cel both protect Skraak. Hamid tells Skraak to use his spear, Skraak runs instead. Thank god he might not die trying to be a hero. Something drains into the pipe organ and the pipe organ attacks! OMG it is a 50ft tall brain soup drinking electric monster! Yes Ben! Perfect! Shoin Mr Ceiling-ed himself theory has player buy in! Bye! Also I will eat my hat if the drop blobs aren't able to merge into something more dangerous.

[traincat]

I know you've already sort of discussed this but could you please explain the marvel 2 in 1 ending... what I'm getting is that the gist of it is that Reed and Sue are just like 'lol whoops I guess we sorta forgot about u'... which is really kinda anticlimactic and abrupt. Did I read it wrong or something? All that build up and angst just for it to go down the drain... is there something more to it that I'm missing that you know of?

I can explain it, but the answer’s not going to satisfy you, because it doesn’t satisfy me. Long story short: there were implications there was something more to the story than Marvel Two-In-One’s final two issues said, but Fantastic Four hasn’t followed up on that like, at all, and shows no signs that they’re going to anytime soon.

In the interests of putting all of the pieces together, I’m going to lay out everything that happened between the cancellation of the Fantastic Four title and now, because there are a lot of fuzzy periods. The Fantastic Four disappeared from the Marvel universe and from the shelves back in 2015, following Jonathan Hickman’s Secret Wars event. In Secret Wars, the multiverse has been destroyed and cobbled back together into Battleworld, a realm where Doctor Doom rules as god king, with Sue as his wife, Ben transformed into a huge wall, and Johnny as Battleworld’s artificial sun. It’s a real fractured fairy tale. At the end of Secret Wars, Reed defeats Doom and reunites his family. Using Franklin’s mutant ability to create entire universes and the Molecule Man’s powers, Reed, Sue, and the children of the Future Foundation set out to recreate the multiverse. Ben and Johnny are sent back to their own Earth with comment that “their stories aren’t done yet.” Doom is also sent back with his scarred face restored. 

The cancellation of the Fantastic Four at this point heralds the first time Marvel had been without a Fantastic Four book on the shelves since 1961. We know – partially because it was painfully obvious, and partially because Jonathan Hickman spilled the beans – that the Fantastic Four comics were cancelled because of a film rights dispute; aka, Marvel Studios and Disney didn’t have the film rights, and Ike Perlmutter threw a fit about it. Instead of doing their best to put out a good book that would draw in comics audiences, Marvel instead cancelled Fantastic Four, citing low readership. Marvel has denied this, but the truth is pretty obvious, especially with how the Fantastic Four’s return to comics just so happened to coincide exactly with when it became extremely clear that the Disney-Fox merger was going through. So right from the start we had this very inorganic reason as to why the Fantastic Four were hung up. Reed, Sue, and the kids were retired out of universe under the excuse that they were rebuilding the multiverse – which, to be fair, does work as a pretty good excuse. Johnny and Ben, on the hand, were kept in-universe and distributed to other properties, probably because of Ben – who, let’s be honest, is the most popular of the Fantastic Four and the moneymaker here – and because it made more sense to keep Johnny and Ben than just Ben. 

Immediately post-Secret Wars, there was an eight month (iirc) timeskip in the main Marvel universe, meaning that books that picked up after the events of Secret Wars picked up significantly after it; we see very little of the Secret Wars fallout. Here’s what we do know concerning the Fantastic Four: Reed, Sue, and the kids were largely believed to be dead, although Johnny in particular initially refused to believe that. Sometime during this timeskip, Johnny and Ben had some kind of fight. We don’t know what it was about. Honestly, at this point, we’re unlikely to ever know what it was about. Whatever it was, it was bad enough that Ben and Johnny severed all communication and Ben left the planet to join the Guardians of the Galaxy. What followed was the longest separation between Ben and Johnny that we’ve ever seen in canon. Johnny and Ben are famous for squabbling, but their fights rarely last longer than a few days at most; they’re extremely close, to the point that when Ben was presumed dead, Johnny’s coping mechanism mirrored Ben’s long time love and current wife Alicia’s. This post-Secret Wars separation between them lasted longer than when Ben thought Johnny had gotten together with said longtime love Alicia (it was a Skrull in disguise, but nobody would know that for like 80 issues). This separation between them is completely unprecedented, and like I said, we have no idea what caused it.

This scene from Infamous Iron Man #9 is the closest I’ve gotten to determining a root of the fight – note Johnny says “my family”, all handily bolded for emphasis. Not “our family”, “my family.” Ben is the only member of the Fantastic Four not related by either marriage or blood to any of the others, which has been a very occasional sore spot in the past. But even this scene doesn’t quite make sense – it’s hard to imagine Ben and Johnny having a months long separation over this alone, and to make matters more confusing, before Infamous Iron Man #9, Johnny had tried to get in contact with Ben only to be rebuffed. In Infamous Iron Man #9, Ben gets in contact with Johnny only for Johnny to practically run away from him. Already the new dynamic here feels like it needed more attention in the narrative than it actually got.

I think part of the problem with this whole return of the Fantastic Four storyline – the actual return especially, but even the lead-up – is that it was never established what was keeping Reed and Sue from coming back. On top of that, if they had the power to send Johnny and Ben back, why weren’t they able to send them back with some sort of memory or guarantee that Reed, Sue, and the kids were okay? It would have been very easy to say “well, a supervillain did it!” You know, the easiest comic book plot excuse of all time. But they didn’t do that. And that creates a problem when it’s a well-established fact that Johnny in particular tends to fall into a deep depression and displays signs of self-harm when the team isn’t together. (Fantastic Four #191-193, Robinson’s Fantastic Four run, Ben’s death in Waid’s run.) Which is exactly what happened this time, too, both during the timeskip and in the lead-up to Marvel Two-In-One (2017). 

Marvel Two-In-One (2017) was essentially the test run for the return of the Fantastic Four. The original Two-In-One was to Ben Grimm what Marvel Team Up was to Peter Parker: essentially a team up book that revolved around one character. So it made sense to relaunch it starring Ben and Johnny. In Two-In-One, Ben discovers Johnny at the end of his rope, pulling life-threatening stunts in his grief and depression, and, willed a multidimensional travel device by Reed, decides to – to the best of his knowledge at the time – lie to Johnny and say that Reed and Sue might still be alive. Learning that they’re both losing their powers and will continue to do so unless they’re reunited with Reed and Sue, as their powers depend on the four of them being in the same universe (an interesting concept, though not one we’ve seen before), Ben and Johnny set off, with a worryingly helpful Doctor Doom on their heels, on a multiversal roadtrip to find their family – one Ben thinks will fail from the start because, as far as he knows, Reed and Sue are dead. It’s a really good concept, and a great concept that starts to fall apart as soon as the notion that Reed and Sue aren’t dead starts to float to the surface. In Two-In-One #9, stranded powerless with Ben in the desert in another universe and facing death, Sue appears to Johnny.

(Marvel Two-In-One #10) This brief contact is apparently enough to reignite Ben and Johnny’s powers to full strength. Sue says that her and Reed’s powers were gone, which does seem to track with the plot – except Johnny and Ben lost their powers over a prolonged period of time, not all at once. If Reed had realized he and Sue were losing their powers, he should have come to that conclusion far before this point in time. You can say the times don’t add up because different universes (which the “you haven’t met the Zaklons yet” line would seem to imply), but with no explanation about how Sue was able to contact Johnny – however briefly – at this point, it does make it seem like Reed and Sue could’ve made contact with Ben and Johnny at any point… and simply chose, for whatever reason, not to. Which is, ultimately, the story Two-In-One goes with. 

(Marvel Two-In-One #11) In the very next issue, Reed’s reasoning for why they didn’t take Ben and Johnny with them is that… they would’ve been bored by the science aspect of it all. Which is, I’m going to go ahead say, very out of character and not in the spirit of the Fantastic Four. They’re explorers, and they explore together. This seems like a weirdly brusque excuse to write off the absence so they can get back to the status quo as quickly as possible, using Reed’s science-obsessed image to make him the fall guy. Additionally, in this issue (which I have to say, I overall like – I wrote a whole Doom/Reed fic based off of it), Reed also offers another reason why the world had to believe he and Sue were dead:

In Marvel Two-In-One #11, Reed and Ben visit an alternate universe Doom who exists in a universe where his own Reed is dead. This Doom is a pretty okay dude at the moment – in fact, he and Reed had become, through Reed’s private multiversal travel, close friends. Using this (pretty flawed) logic of “Reed dead = Doom good??”, Reed deduced that if his own Doom thought Reed was dead, he… too would be good? Look, I don’t hate this. I’m a big Doom/Reed fan and the whole thing is pretty shippy and it also depends on Reed having an enormous attachment to Doom and an enormous desire for his own Doom to be like this other Doom, who is his friend. But as far as “why did Reed and Sue stay away as long as they did” explanations go, “Reed was kind of bonkers in love with Doom” is not the direction I expected things to go. Besides, it doesn’t really work, and it doesn’t really work for one big reason: Fantastic Four (2018) #1, the actual return of the Fantastic Four, was published before this, and Fantastic Four (2018) #1 implies a hugely different story.

Fantastic Four (2018) #1 sees Johnny and Ben returned to their home universe after the events of Marvel Two-In-One #10. The reader has no idea how they got there or what they’ve been doing since they got back, or even how long it’s been since they’ve been back. Despite the Sue sighting, at the very end of the issue, Johnny becomes convinced all over again that Reed and Sue are dead, up until… 

(Fantastic Four v6 #1) The staging here is important – Reed and Sue’s battle-ripped uniforms, and the cryptic lines between them, like Sue’s “what you plan to do… seems impossible.” This is compounded by dialogue between Franklin and Val in the next Fantastic Four issue:

“You think you can boost that signal enough… to reach Earth?” “Home? I’m good, but there’s no way I’m that good.” This would definitely seem to imply that, for some reason, Reed, Sue, and the kids can’t contact their home universe, or Ben and Johnny at all. I’m admittedly biased in favor of this version: the more time went by without Reed and Sue contacting Johnny and Ben and leaving them on their own, the more obvious it became that this was the best solution, to create some comic book reason why Reed and Sue simply couldn’t return home. But Fantastic Four (2018) #3 and #4 never really explore this more, and the subject gets dropped altogether, which makes for a very unsatisfying read. The Fantastic Four simply return home together and, some frankly too quickly brushed off anger and resentment from Johnny in Marvel Two-in-One’s closing issue aside, this gets swept under the rug in favor of the Fantastic Four just being back now! Hurrah! Pay no attention to the film rights hungry Mouse behind the curtain! 

If I wanted to, I could make the explanations presented in Fantastic Four (2018) and Marvel Two-in-One (2017) mesh – Reed has massive guilt issues stemming back to the accident that granted the Fantastic Four his powers. He has a bad habit of taking responsibility that isn’t necessarily his, and of not being 100% truthful in situations because he feels it’s for the best for everyone. (The massive amount of time he takes to reveal his powers are failing during Fraction’s Fantastic Four run, or in the two instances during Waid’s run where Reed uses cruel words to distract both Ben and Sue from his plans to sacrifice himself for them.) Reed might have chosen to take the blame on himself – come up with a story he knows will anger Ben, say that he thought he and Johnny would have been bored, because he felt it was somehow easier than admitting that he and Sue found themselves in some kind of situation where they simply couldn’t get back, and couldn’t contact Ben or Johnny. It’s a way of taking 100% of the blame on himself, which would be a very Reed thing to do. But that would be me doing the book’s work for it; this is absolutely not established within the actual canon as of the time of my writing this.

Honestly, I don’t think we’re likely to see this explored more any time imminently – the Fantastic Four were banished from the stands because of film rights. They came back because for three years dedicated fans asked where the Fantastic Four were, yes, but also because of those same film rights. Now that they’re back, there seems to be this huge rush to pretend it never happened: the Four are back together, and that’s that. It’s very unsatisfying, but it’s clear Marvel cared more about pushing the Fantastic Four back together as quickly as possible than writing a coherent, satisfying story that put together all the pieces of their in-universe disappearance.

[oranges8hands]

Regarding this post, "an extremely long meta on tfw's 'gaze'" has anything changed in the show since then, especially regarding s9-10? If you've addressed this before, just send me the links, and thank you for your meta.

re this post.  also wow, spn meta, this takes me back :) hmmm. I personally haven’t addressed it. I’ve been racking my brain and skimming my meta rec lists but I don’t really remember someone else doing a count breakdown like that for TFW’s “gaze”. I’d assume @elizabethrobertajones may know, if such a thing exists. I’d honestly assume one doesn’t, just because of three (kind of contradictory) reasons: 1. if that post was basically summarizing that the Team does not focus on Dean’s emotional needs (esp because they are not supernatural in nature), arguably S9/10 was all about Dean’s needs (esp because of the MoC); 2. there’s no TFW anymore; 3. its literally the same story, repeating like the dead horse it is, so they can’t change the gaze.

1. This one I kind of consider self-explanatory. The big, two-season drawn out arc was about Dean, his issues (from bloodlust to daddy’s brainwashing and back around again), and the inconsistent Mark of Cain. Now, I haven’t run the numbers (and sorry, am not interested enough in spn to go do so), so maybe in terms of actual dialogue there’s less focus than I remember there being, but in general the narrative focused a lot on Dean’s emotional landscape being front and center. Sam was afraid of and for Dean, that was a lot of his emotional beats. Cas was afraid for and in pain because of Dean, that was a lot of his emotional beats. Crowley was increasingly invested in Dean, that was a lot of his completely unnecessary emotional beats. So in terms of discussions, a lot of them are focused on Dean and bringing him back to (or in Crowley’s case, dragging him away from) his humanity, shorthand for love. We have out-loud conversations about other members loving him/missing him. (Maybe its still unbalanced - no one shouts about wanting to be loved as much as Crowley, though it subtextually becomes about wanting Dean’s love specifically - but its there.) If the post is about wanting “Dean to be gazed at for any damn substantial length of time and depth of focus in a concentrated group effort by the other members of TFW that lasts longer than an episode”, then the arc during S9/S10 delivered. With shit writing, but it delivered.

Except, the original post made a point about “how the individual relationships—through good times and bad, hurtful feelings and comforting ones—feed into each other to bring out incredible texture and give enormous meaning to the singular unit of togetherness that Dean once named ‘Team Free Will’” and the problem is… there is no TFW. 2. Though fandom often used TFW to refer to Dean, Sam, and Cas, that post specifically included Bobby in it, and there’s been no Bobby replacement. There could have been, but Kevin was not invited into the inner circle (and was then killed), Charlie was mostly separated from the main plot (and was then killed), and while they force-feed brought Crowley into a main character position, even at their height of shoving bringing Crowley into the plot/group, I would argue it wasn’t necessarily as a team member but as a subtextual!lover/shitty father to Dean only, and competition to Cas and Sam. So there isn’t really a “group” to discuss the emotional well-being of another member anymore. There’s Sam and Cas talking about Dean, and Dean and Cas not talking about Sam, and Sam and Dean forgetting Cas exists referring to Cas, but the closest we get to team discussions about another member is with Charlie near the end of her run, and they kill her off immediately. And even if we just include TFW to refer to Dean, Sam, and Cas, the show no longer actually lets Cas be a member of it? Like the show stopped letting Dean and Cas occupy space together, apparently answering the queerbaiting from earlier with a resounding No Homo (Yes Rape), but because their answer was in the form of a scorched-earth policy, that means the Dean and Cas friendship also suffered horribly. Like, they got them together for the annual destiel-baiting cycle moments, but overall Cas was finding himself/his grace (or whatever) and Dean was expanding his bloodlust (or whatever), and then they’d have some scenes to remind us Cas loves Dean more than anything (including himself) and Dean would shed his one manly tear of angst, and then they’d go their separate ways again. And by keeping them apart in more and more outlandish ways, it builds into this idea that Dean is not allowed to show he cares about Cas beyond microexpressions, since his general actions - like never helping Cas with his f-ing grace - suggest otherwise.And then, there are very few and far between scenes of all three of them together? Cas and Sam spent a lot of time talking about Dean, and there’s the Cas and Dean sightings, and there’s way way way too much Dean and Sam, but all three of them together? There wasn’t that many, and especially not that many that wasn’t heavily related to the sub-arc [changing Dean into a human/stopping him from going demon] and as the original post explains:

Characters don’t become closer when they do plot things together: hunting, fighting, planning, researching, etc. That is work, circumstances, necessity. That’s not the basis for a bond, for that sense of another person in one’s life as “home.” Characters become closer when they are human beings with one another, sharing human feelings, and what makes those relationships the beating heart of TFW is that they gather together and don’t leave one another hanging when one person is in crisis and another person is desperate to help them. So, if everyone’s primary relationship is with Dean, then if you take Dean out, what are you left with? A collection of related parts that have no center, no core.

They can’t have Dean and Cas in the same room because of destiel, and they can’t have Dean and Sam separated for too long because Carver!Era doubled-down on their co-dependency, and they don’t have a lot of Sam and Cas because they don’t want Cas in episodes at all, because neither of them thinks of the other as a priority over Dean [though I’d also argue they show a lot of textual concern over each other’s mental states], and Crowley is in a lot of group settings but because of plot reasons and/or his desire for Dean not as a group member, and they killed off everyone else. Now arguably, there’s Jody, still alive, and who the show does somewhat treat similar to Bobby (she has a home base, she gets an episode focused on her like a main character, she acts as an emotional sounding board for the boys), but while she has emotional moments and strong ties to both Sam and Dean… Cas, not so much. Or, like, at all. (IIRC Jody didn’t even learn about angels/demons until Claire comes to live with her, and that knowledge happens off-screen.) But we see Bobby and Cas argue, work with each other, complain to each other, distrust each other, etc. We do not see Jody and Cas interact, which makes her as the 4th member of TFW difficult to see. [She does however interact with Crowley, in the sense they went on a date and he tried to kill her. Which was never actually explained to her. Just, mentioning that.]Anyway - and seriously I loathe writing this sentence - if there is a TFW and fourth member, its Crowley. He even becomes the go-to answer dude, and gets to occupy a father space. Except like I said, there isn’t enough for there to be a TFW still. The promise of found family gets one cute bunker scene and then Charlie dies. There’s no us vs the world foundation because most of the time in these two seasons its Dean (and Crowley) vs Sam and Cas (when he’s around.)  3. Which doesn’t really matter because this show has never met a parallel it didn’t drive into the ground. Like, by the time S9/S10 rolled around, they’ve had so many parallel seasons and villains, its become a patchwork of old ideas and stale retakes. This show is built on both the boys being world-destroying worried over each other, and treating each other like shit on a stick. They can’t turn Dean’s gaze away from Sam because the show always, always goes back to the brothers-only foundation, and they can’t have more people be permanent members of TFW because the show always, always goes back to the brothers-only foundation, and they can’t actually address anything and move the characters into a healthy direction (which would involve talking about things, esp their feelings) because the show always, always goes back to the brothers-only foundation, so… what’s the point? The numbers won’t prove anything, whether they show TFW’s gaze on Dean more or less than it used to be, because Dean is still (always) going to feel unloved/unwanted, and nothing Sam or Cas (or - jfc I can’t believe I have to type this - Crowley) do is going to change that. Dean is the POV character for the show, and has been since arguably midway into S1, and the underlining character trait the writers will never permanently address is his (disturbing) focus on/control of Sam, so even in scenes when Sam himself is a nonentity, focusing on Dean refocuses on Sam (while also not really caring about Sam at all, this show is weirdly skilled at this contradictory balance.) Basically the show has written themselves into a corner where they have to fix their foundation, or they can only repeat the same tired story lines (though usually with more rape), and they seem to consistently choose to do the latter.   tl;dr: so, uh, my incredibly long-winded answer to your question is while the numbers may have changed, and the structure of the TFW may have changed (or become nonexistent), the other characters can never truly gaze at Dean long, or the show would have to actually address its foundational problems (Dean’s view of Sam, their unhealthy relationship), and that means changing the show’s structure, which is a level of creativity/skill the writers do not possess.

[surskip]

i added on a lot to this so its under a readmore

ive been rereading the books lately, im 3/4 of the way through the 5th book, and i really wish theyd done this realtionship better. with graystripe fireheart had the fight with silverstream and thats basically it iirc, it lasted most of a book but they’re not like. on again off again friends, their friendship is consistent. with fireheart and sandstorm, it seems liek almost every interaction they have is either fireheart accidentally upsetting her or it’s fireheart apologizing to her for accidentally upsetting her. im at the part where fireheart passed her over in favour of giving tawnypaw to brackenfur as an apprentice (which.. was not a good move i don’t think, graystripe was the only one thinking in that moment. the idea that fireheart is afraid of what tigerstar will do to sandstorm if he finds out she’s mentoring tawnykit isn’t a very good excuse and.. i love brackenfur hes one of my favourite cats but it would be so much more interesting to give sandstorm an apprentice then.) and hes thinking ‘i miss sandstorm i wish i could repair my friendship with her :-(’ and i cant really think of a time when they had like. a solid, consistent untumoultuous friendship for a length of time more than a few chapters. also i think that they should give sandstorm more to do than just sort of be fireheart’s love interest and getting into arguments with him. i cant really remmeber a lot of the later books so i cant really remmeber how they handle it later on but i do believe it gets better. i do however like the characterization of a lot of the characters. the scene where fireheart is telling everyone about his plans to stop the battle with windclan especially sticks out in my mind as good, it really feels like the clan exists outside of fireheart. i do not like dustpelt very much because i am now at an age where his interactions with fernpaw make me very uncomfortable. speaking of, im not a fan of the whole ‘ohh cinderpelt is jealous of how close fireheart and sandstorm are’ thing either, it would be fine if they werent trying to push an idea of ‘cinderpelt is in love with fireheart too’ he was her mentor thats gross. also, i really dislike the ‘fireheart’s first true love is spottedleaf’ i get if they developed a really close bond and were good friends but love is not the way to go, she was over twice his age and he was an apprentice while she was a full medicine cat and also they knew each other while she was alive for about half a book and i dont actually really remember them being particularly close. do not get me started on snowkit, either. i am enjoying it, though. i love how fireheart just does not think a lot of things through like when he brought cloudkit home on a whim in the middle of winter or when cinderpelt had to outright tell him ‘sandstorm is in love with you dumbass’. i like him, and i like cinderpelt too, i think she and graystripe are some of my favourite characters. 

im not sure what to think of fireheart’s and sandstorm’s relationship at least in series 1

i feel like it’s just a loop of friendship and then a chapter later he does something to upset her and she ignores him for a chapter or two and then they’re friends again and then it happens again

[chellyfishing]

telling a violent story vs using violence as a story

i really want to write this essay but as usual i don’t have the spoons for doing it justice so it’s pretty much just extemporaneous word dumping. anyway.

every story has a different tone about where they draw the line with violence and death. you can probably think of a lot of examples of both ends of the scale. there’s a misconception that being higher up on the violence/death end of the scale is more adult and more realistic, which ps is bullshit thanks bye. if anything it’s a sign of immaturity but that’s sort of beside the point atm.

the point i wanna make is this: it’s not a secret that i have strong feelings about killing off major or otherwise sympathetic characters. i have an opinion about this that differs from the majority in that i don’t like a character dying in order to motivate another character. it’s tacky. it’s cheap. it’s boring. it’s overdone. and a character can motivate another character while like. still being alive? weird right? live characters always present more options than dead ones. (obviously discussions of character death but also #rape mention ahead.)

to me character death should be a result rather than strictly a catalyst. think about ASoIaF, which is much more violent and upsetting than my typical tastes lean but credit where it’s due, GRRM knows how to do character death. when you know they’re coming, it becomes incredibly obvious. choices, circumstances, motivations all come together to create this unavoidable moment. nothing exists in a vacuum. in ASoIaF, death is a result and a catalyst, but not purely for character motivation; rather, it changes the game itself, leading to a domino effect. ned’s death at the end of AGoT is unavoidable, and it turns things on their heads (heheh) for everybody. the red wedding is built up to for a long time, and obviously that goes on to have huge repercussions. so, counterintuitively, one of the most violent stories in the zeitgeist right now is, for the most part (not a perfect record) is telling a violent story without necessarily using violence as a substitute for a story.

contrast with GoT, which throws in rape and gore like glitter to accent their teenage/twenty-something boy hypermasculine wank power fantasy. GoT is at the other end and it’s super gross and disturbing.

one of the best-known and most prolific offenders of “death because death” is joss whedon. it seems to be the only way he knows how to create shocking “plot twists” and heavy emotional drama. and the worst of the worst sins was tara macclay on buffy. the thing about joss is that he thinks he’s being incredibly clever surprising his audience with this stuff. he’s said as much himself. there is no effort to build up to it. it’s just, well, nobody’s died for a little while so idk find something to impale someone on. tara’s death was everything death in fiction should not be. first of all she was a lesbian, and one in a happy relationship to boot. need say no more. second of all she was literally caught in the crossfire. the bullet that killed her was meant for someone else and it just happened to strike her down instead with no effort or chance to save her. third, it had to happen so willow could be evil for a bit. and fourth, most obnoxiously, that episode was the first and only time amber benson appeared in the opening credits. this was done deliberately. i wish i could find the quote but alas. to the best of my recollection joss said they wanted to do something like this with another character, possibly jenny calendar, but were unable. it was fully planned well ahead of time to “trick” the audience, which is kind of... sad? that you feel the need to resort to a meta trick like that to maximize shock value? (oh, and don’t even fucking start me on dr. horrible’s and penny. ffs, joss. that didn’t even fit the fucking tone. fuck.)

there are more examples (i am looking directly at you, the 100) but i think those two pretty much put the cap on that point.

death in a story can be important and moving without making the audience feel cheated. HIMYM is largely a light-hearted romantic comedy, but it’s also one about transitioning to adulthood and what that means. and unfortunately, adulthood often means unexpectedly losing loved ones. the death of marshall’s father was surprising, but less than to motivate marshall in some way, it’s more to clarify that adulthood means loss as much as it means gain. it means change more than anything. also story-wise it was a good choice of character, as marvin had deep important connections to a character we loved without leaving a gaping void full of what might have been.

wynonna earp is another story that knows where to draw the line. most of the “victims” are cartoon villains who are inhuman and already dead. the framing of the story leaves us no reason to have sympathy for these literal monsters. when a more sympathetic or humanized character has to go, it’s because there’s no other choice, and each time rather than being a motivator for wynonna, we can see instead the psychological toll it takes on her. she is someone who is surrounded by death, the one with this burden to make the hard decisions and pull the trigger. she killed her father on accident when she was just 11. she’s forced to kill beloved shorty, who is pretty much family and one of the few people who didn’t think she was trash, in order to save him and potentially a lot more. levi and fish were mercy kills that forced her to confront the fact that these monsters truly were once human. and in the finale she gets a double whammy: willa’s betrayal leaves her once again turning her gun on a family member and fatally pulling the trigger. we’re even relieved to see her shoot bobo, not just because she has to if she ever wants to break the curse but because again there’s another dimension to it, maybe even a tinge of mercy. bobo is not exactly sympathetic, but he is someone with dimension, someone we know. willa pretty much had to go story-wise, if nothing else she was a threat to wynonna’s position as the heir and the show is called wynonna earp. but her death also tied into the themes of the show: how to make and live with hard choices, how to stand up and be the one to do the unthinkable because you’re the only one and you have to, whether you want to or not, how to be the one who bears the hate of the very people you’re sacrificing everything to save.

and of course, i can’t not address harry potter, which i think is hit or miss. surprisingly i think cedric’s death was well-done and important, because it was shocking without being done for shock value, and because it was a result: a result of cedric being honorable and good and at the wrong end of the wand of a man who feels nothing about killing anything not useful to him. and ironically, it should have been a catalyst, but it wasn’t, but that’s its own story: the warning everyone failed to listen to, at their own peril. some deaths were organic in that jkr herself went against her plans once she realized what made more sense for the story. iirc, she’s on record as saying arthur weasley was originally meant to die when he’s attacked in ootp, but she spared him at the last minute. he didn’t need to die, it wouldn’t have added to the story, and killing arthur weasley is like joss whedon-level bullshit. on the other hand, she initially intended to let snape live (again iirc) but here she backed herself in a corner. snape was another result. it became obvious that according to the story there simply wasn’t a feasible way to save him, even if in context his death was for nothing. and of course la pièce de résistance, dumbledore, who is GRRM levels of inevitable and necessary.

i feel different ways about other deaths. they mostly happened for the sake of happening, to remind us it’s a war and people die in wars and she wanted faces and names we knew. that’s fair, as it goes. and i don’t begrudge the fact that she didn’t stop to dwell over some of them, because again, war, chaos, you don’t have time to grieve as it happens. but like. fred? i feel a little cheated. lupin and tonks? especially transparent and... unfulfilling. it was like bringing them together was done only to produce teddy, and then they became more useful dead first so harry would be more important to teddy and also because lupin needed to be there with harry in the woods alongside the rest of the marauders. i think of all the deaths these ones are the ones that bother me the most. just... really... meaningless.

also, the movie feeling the need to go a step further and giving us a nice close-up of lavendar brown’s very dead face because... aesthetic? it’s more ambiguous in the book, and even pottermore can’t seem to decide which way to go. it’s so irrelevant that people can’t agree it even happened.

death isn’t the only kind of violence in fiction or necessarily even the worst, but it is the one that’s always on hand like a tissue to grab as you need and the one that is abused by unimaginative writers who just... can’t think of how else to move the story forward. i do think there is a place for stories that involve rape, because it’s real and just like any other group survivors need to see themselves acknowledged as being real and more than their trauma. i don’t really feel too comfortable speaking for survivors here tbh but i do know that all of us need stories to keep us from feeling isolated and unworthy. but i cringe at the idea that it’s just something that happens to women and therefore let’s add it here, here, here, and here. using it as a turning point for the survivor like assault is enlightening and transformative is gross. using it as a turning point for someone else, usually a man, is A WHOLE LOT GROSSER.

also i just realized i didn’t get into tarantino, but i’m too tired for the kind of analysis his work requires. anyway one of the things i liked about kill bill, for example, is that the violence is so over-the-top that in places it’s comical. the whole film is just so extra. afaik that’s what tarantino was going for.

quick shout-out to snk: my favorite comedy. when this first came out it was hailed as The Best Thing Of The Year, it was SO GOOD, so quality. anyway so i finally got around to watching it. i watched it twice in relative succession in fact. and i laughed a lot. you can ask @second-stringer, she was like “oh my god, i’m in a room with a sociopath.” snk is so extra, but i... don’t think that’s what it was going for. i think it was going for shock! and drama! and plot twists! and look at all that blood and gore and dead people! this is obviously Very Mature! i feel so cool and grown-up watching it! and (sorry, not to get passive aggressive at my mutuals who were into it at any point, this is honestly about conversations i had with or read between people not on tumblr/in other contexts) the general trend was the raves were coming from the younger and frequently male audience. like it was the usual kind of thing where you couldn’t be like, are you... serious? didn’t you find it kind of... ridiculous? because you would be mobbed by rabid fanboys eager to mansplain that i don’t know i stopped listening. anyway, the steep decline in worship for the series over time leaves me feeling smug and satisfied. i actually might still watch it out of morbid curiosity and in the hopes that it’s as funny or, prayer circle, even funnier.

in conclusion, bobby has an email from me that includes a lot of yelling, “DON’T KILL THE LESBIAN. DON’T FUCKING DO IT.” this is my contribution to the cause.